“Creepshow” isn’t just a horror movie, but it’s also the gold standard for what most anthology horror movies strive to be. While there have been anthology horror films before it, “Creepshow” popularized the genre for a new decade and helped redefine the idea of the sub-genre. Not just that, but “Creepshow” is also a rebuttal to the golden age of horror comic from EC. Once upon a time the comics label that produced violent horror based comics were shut down due to their controversial nature. “Creepshow” is a movie that combines immense talents from folks like George Romero, Stephen King, and Tom Savini to provide something of a rebellious middle finger and show a new audience that these tales were as fun as they were violent.
Tag Archives: Dark Comedy
Reality Bites Back: “Dead Set” Ten Years Later
If any case could be made for the advantage of running zombies in the zombie film sub-genre, “Dead Set” would easily trump any argument against the device. I’m a zombie enthusiast who loves the lumbering dead, and in all honesty prefers them above all. “Dead Set” not only endorses the idea of running zombies, but makes turns them on to a world of lazy, complacent television addicts, with remorseless fervor. Like the reality shows that have become fixtures of civilization, we’re turned in to blood thirsty monsters that feed off of one another, and show little empathy for the weak.
Heavy Trip (Hevi Reissu) (2018)
While “Heavy Trip” may not be what we call horror in the conventional sense, Jukka Vidgren, and Juuso Laatio’s dark comedy musical has a lot of the DNA of a horror movie, right down to satanic worship, blood baths, and plenty of vomit. It’s not often you get to see an underdog tale of a band struggling to make it set to the tune of death metal, but Jukka Vidgren, and Juuso Laatio tap in to a distinct crowd that’s gone woefully overlooked. “Heavy Trip” will definitely stand out in the memory of their audience who are in the mood for something wholly unconventional but surprisingly crowd pleasing.
Tales From the Hood 2 (2018)
Rusty Cundieff is back for what is another racial based horror anthology that not so subtly comments on our current social and political climate. The original “Tales from the Hood” still packs immense relevance today, and Cundieff goes another bite at the jugular. While “Tales from the Hood 2” isn’t only packs two very strong horror stories surrounding racism and corruption, it’s still a fun, darkly comic satire with Keith David doing a stellar job as our new Satanic narrator. The budget is obviously lesser this time, but “Tales from the Hood 2” packs a wallop with a ton of biting satire.
The Happytime Murders (2018)
Director Brian Henson explained in an interview that he hopes the wrong audience doesn’t accidentally see “The Happytime Murders.” So I have to ask: Who is “The Happytime Murders” meant for? Who is the target audience here? It certainly has aroused the ire and vitriol of Muppets fans, horror fans mostly dislike it, and it has inspired nothing but groans and eye rolls from comedy movie buffs, so who is this movie for, anyway? Despite Henson’s best efforts to pad the wet thud that is “The Happytime Murders” by labeling it a “guilty pleasure,” you’d have a much better time putting socks on your hands and barking random expletives to yourself.
Flower (2018)
Probably the most disappointing movie I’ve seen all year, I probably would have shut “Flower” off midway were it not for the great turn by Zooey Deutch. Deutch has become a rising star in film, never failing to be charming, charismatic, funny, and beautiful. She’s one of the survivors of Disney television whose managed to convey some genuine humanity and appeal in a variety of roles ever since. It’s just a shame she got saddled with such a mean, vicious, and despicable dark drama romance that’s about as demented as it gets. “Flower” feels like the writers tried to combine Diablo Cody and Larry Clarke in to one twisted freak of a film, and man does it suck.
John Carpenter’s In the Mouth of Madness (1994): Collector’s Edition [Blu-Ray]
John Carpenter has always been about transcending what ever form of storytelling he pursued. Even when paying homage toWesterns or remaking something like “Village of the Damned,” Carpenter never approaches it conventionally. With “In the Mouth of Madness,” he had every chance to repeat the same meta-beats as “They Live,” but he ends up delivering a genius, beautifully loony, often brilliant piece of cinema that’s both a tribute to literature, a meditation on the power of the imagination, and our own state of being and reality.